• Movie Preview •

Luke Wilson, Kate Beckinsale, Frank Whaley, Ethan Embry. Horror/thriller. Written by Mark L. Smith. Directed by Nimrod Antal.

FILM SYNOPSIS: When their car breaks down in the middle of nowhere, a scrabbling couple is forced to spend the night in a remote motel. What to do? They watch scary movies on TV. Soon, they discover that the slasher movies they are watching were filmed in this very room. And someone intends to make our unsuspecting couple the stars of a new sequel.

PREVIEW REVIEW: It’s a good premise. You’re at a generic motel surrounded by a serene setting. You turn on the TV and here’s this horrific murder scene. Then you notice it. What’s happening on the screen took place in your room. Great premise. And that’s about the only positive I have to say concerning Vacancy. Oh, the acting is good and it does keep you on the edge of your seat, but it has so many implausibilities that it appears the filmmakers think we’re just plain stupid.

My main problem with the film, besides the implausibilities, is that it’s unpleasant. The couple is on a verge of divorce, so the bickering and nasty swipes at one another become depressing. Next, is the objectionable language. I believe the first sentence out of Luke Wilson’s mouth includes a misuse of Christ’s name. Between using the Almighty as an expletive for releasing frustration and the f-word for every other emotion, the script is crowded with abusive and overly familiar movie dialogue. Then there is the video-taped brutality where we see former motel guests getting beaten, tortured and stabbed to death by the manager and his deviant pals. Some are entertained by graphic and torturous violence, but I don’t find this to be a form of release to the miscarriages of the day. In a world where terrorists have little regard for life and nutcases open fire on terrified fellow classmates, seeing people being butchered is not my idea of a fun evening at the cinema. Okay, I suppose that sounds wimpy, but even more unsettling for me is the countless script mistakes that could have been cleared up had the writer given the slightest effort.

SPOILER ALERT: I am going to spotlight a few of those improbables. If you don’t want to know them, skip the following paragraph.

The couple is stuck in the motel room and realizes the villain has some secret entrance. It is discovered. On the bathroom floor, under a neatly placed throw rug, there’s a hatchway to a tunnel. Now, the villain has already made a sneak appearance in the bathroom and evidently retreated through that hatchway. So why, when the hero finds the secret passage, is it covered neatly by the throw rug? How could the baddie have straightened it? That drove me crazy through the rest of the film. Then there’s the cop who gets knifed to death. No other cops come! The dispatcher knows where he went. Wouldn’t they think something was up when he doesn’t return or call in? And there are other mistakes writer Mark L. Smith could have easily fixed. Why didn’t he fix them? Is he not smart enough? I doubt that. He got the job. He must have something on the ball. Maybe he thinks we won’t notice, that we won’t care so long as we can get a good dose of the shocks.

Video Alternative: The Old Dark House. Made in 1932, many a spooky movie has borrowed from this one. Great cast includes Boris Karloff, Melvyn Douglas, Charles Laughton, Gloria Stuart, and Raymond Massey. A tongue-in-cheek chiller about travelers stranded in mysterious mansion, with Karloff as an eerie butler.

Distributor: Sony Pictures Releasing

Shia LaBeouf, Carrie-Anne Moss, David Morse, Sarah Roemer. Teen thriller. Written by Christopher Landon, Carl Ellsworth. Directed by D.J. Caruso.

FILM SYNOPSIS: After his father’s death, Kale (Shia LaBeouf) becomes sullen, withdrawn, and troubled – so much so that he finds himself under a court-ordered sentence of house arrest. Soon, the walls of his house begin to close in. He becomes a voyeur as his interest turn outside the windows of his suburban home towards those of his neighbors, one of which Kale begins to suspect is a serial killer.

PREVIEW REVIEW: Despite the title, no, this isn’t a sequel to the Tom Hanks comedy ‘Burbs. It’s a teen version of Rear Window, without the wit, style or inventiveness of Hitchcock. The intended audience, by now desensitized to just about anything that can be portrayed on screen, won’t flinch at the excessive content, be it the use of Jesus name, which has become the new “damn,” or the jolting reality of a sudden car crash. But neither will they be subjected to subtlety found in the Hitchcock thriller. Quite honestly, I think today’s teens would be bored with Rear Window’s vogue. Certainly they would squirm while viewing the fashions of decades past. That becomes evident when the lead plays a song by Lou Rawls in order to bug the neighbor teen partiers. To them it’s like nails on a chalkboard.

But it’s not a bad film. Shia LaBeouf has established himself as a fine actor, one of the best of his generation, Sarah Roemer – his romantic interest in the film – looks good in a bikini (she’s the new Jessica Biel), and David Morse always adds legitimacy to a film, though here he’s pretty transparent, like the demonic Robert Mitchum character in Cape Fear. What’s more, the tension-building direction of D. J. Caruso (The Salton Sea, Taking Lives), should satisfy younger audiences. But if Rear Window is filet mignon, Disturbia is hamburger helper.

Video alternative: Rear Window. In this macabre tale of voyeurism and murder, a wheelchair-bound photographer (James Stewart) suspects the neighbor across the courtyard has murdered his own wife. Unable to move about, our hero must depend on his girlfriend (Grace Kelly) to do the investigating.

Distributor: Paramount Pictures

Starring Karl Urban, Moon Bloodgood (I kid you not), and Russell Means. Period action adventure. Written by Laeta Kalogridis, Nils Gaup. Directed by Marcus Nispel.

FILM SYNOPSIS: An action-adventure set in the time when Vikings tried to conquer North America, Pathfinder tells the heroic story of a young Norse boy left behind after his clan shipwrecks on the Eastern shores. Despite his lineage, the boy is raised by the very Indians his kinsmen set out to destroy. Now, as the Vikings return to stage another barbaric raid on his village, the 25-year-old Norse warrior (Karl Urban) wages a personal war to stop the Vikings’ trail of death and destruction.

PREVIEW REVIEW: From opening to close, it’s replete with brutal imagery, reminding us of the damage Middle Age swords and maces can inflict. Like Conan, Tarzan and Rambo, the lead bests his foes by slicing and dicing with just a little more skill than his bulky opponents. Darkly filmed, unevenly paced, and directed with no more on its mind than to portray mindless savagery, much like a sadistic video game. Pathfinder’s main audience will undoubtedly consist of those among us who enjoy seeing heads cut off or bashed in. It should do well. There’s a scary thought.

Distributor: 20th Century Fox

Halle Berry. Bruce Willis, Giovanni Ribisi, Gary Dourdan. Psychological Thriller. Written by Todd Komarnicki. Directed by James Foley.

FILM SYNOPSIS: When investigative reporter Rowena Price (Halle Berry) learns that her friend's murder might be connected to powerful ad executive Harrison Hill (Bruce Willis), she goes undercover with the help of her associate, Miles Hailey (Giovanni Ribisi). Posing as Katherine, a temp at Hill's agency, and Veronica, a girl Hill flirts with online, Rowena surrounds her prey from all sides, only to discover that she isn’t the only one changing identities. The closer we get to learning the truth, the more we understand how far people will go to protect it.

PREVIEW REVIEW: It’s quite a coincidence; I’m working on a column concerning the constant use of obscene and profane language, at the same time seeing a movie that contains nothing but obscene and profane language. Halle Berry plays a reporter bent on bringing down corporate and political big shots with secret sexual lives. She plays her part like a man. Oh, she doesn’t give up looking like a runway model, from swanky apartment to designer clothing, but her behavior is just short of a dock worker. She swears with the best of them (none of these people could express anger or frustration without the f-word), she’s pushy, bossy and able to quit her job in a huff, evidently financially secure enough to tell the editor of a major NY City paper to go blank himself.

Whenever she returns to her upscale apartment, she opens a beer and drinks from the bottle. No Chardonnay for this 21st century tough girl. I thought about the old cigarette ads aimed at women proclaiming, “You’ve come along way, baby.”

This tough, sexy, new-day woman may appeal to modern audiences (as long as they don’t have to live with her), but then there’s this dopey, transparent script with which they must contend. Our “heroine” starts out hammering a conservative political figure (we know he’s conservative because he wears a lapel flag and denounces homosexuality). She confronts her prey with intimate photos of him and a young male page. Take that, conservatives. (She takes joy in exposing this man. Exposing him would be just, but the effect it would have on family and others should diminish any joy at revealing this crime. Not to her. She and her cohorts celebrate.) Later, in a fit of rage, she manages to hurl a couple of slings and arrows at Bush and the handling of Iraq. (Ever notice how the Hollywood folk never take a poke at democrats? You’d think they could get a joke or two out of that Congressman with the $90-grand in his freezer. Not that I’m implying he was guilty of a crime. He’s probably just mistrustful of banks. Or, perhaps he was holding it for a friend who is mistrustful of banks. But I digress.) She keeps waking up from nightmares about her childhood. As a child, her father figure liked to see her taking baths. We begin to realize she has her own demons haunting her.

When her paper won’t print her story of the hypocritical conservative politician (the first of many hard-to-believe script components), she quits, then suddenly finds herself hot on the trail of an ad man who may have killed a blackmailing blonde. It’s only then that we suspect all is not as it seems. Did the Bruce Willis character really commit the crime? Or was it his wife? How about her own associate who keeps his romantic feelings so hidden that it is a complete surprise to our intrepid reporter when she discovers his secret room filled with her photos? After all, the further discovery of pictures reveals her partner with the dead girl, the two having been photographed during kinky sex. (I never could figure out who was taking the photos of the two having kinky sex.)

As the story progressed, the grungier I felt. Everyone lives in a haze of alcohol abuse, cynicism and vulgarity. No one is above abusing the sanctity of marriage, yet they are each angered when someone betrays them. For example, after discovering an employee is a spy and having physically thrown said employee from his office, in front of the entire staff, Bruce Willis later says you don’t cheat on a friend. Or, words to that effect. Evidently, he doesn’t see his beautiful wife as much of a friend, because he does a whole lot of cheating on her.

I can’t describe it further as I would be giving the ending away, though I suspect you’ll figure it out a long time before the movie characters do. Nothing is as it seems – usually a good element for a suspense thriller, but completely mishandled here. It’s all silly, nonsensical and crude. If I were allowed the proverbial one movie to take along while being stranded on a desert island, this sure wouldn’t be it.

Video Alternative: The Wrong Man. Hitchcock unnerves with this tense drama concerning a man falsely accused of a robbery, with disastrous ramifications. Henry Fonda stars in this compelling mystery drama, where justice ultimately triumphs.

Distributor: Columbia Pictures

Ice Cube, Nia Long, John C. McGinley, Aleisha Allen, Philip Daniel Bolden. Family Comedy. Written by Robert Ramsey & Matthew Stone and J. David Stem & David N. Weiss. Directed by Steve Carr.

FILM SYNOPSIS: This follow-up to Are We There Yet? borrows its story from the Cary Grant classic Mr. Blandings Builds His Dream House. Now married to Suzanne (Nia Long), Nick Persons (Ice Cube) has bought a quiet suburban house to escape the rat race of the big city and to provide more space for his new wife and kids Lindsey and Kevin (Aleisha Allen and Philip Daniel Bolden). But when his new home quickly becomes a costly “fixer upper” and he finds himself at the mercy of an eccentric contractor (John C. McGinley), Nick’s suburban dream soon becomes a comic nightmare.

PREVIEW REVIEW: You have to credit Ice Cube for being a good sport. He’s made a family film, avoiding crudity (mostly), subjected himself to numerous pratfalls in the name of Jerry Lewis, and allowed co-star John C. McGinley to steal scene after scene as a zany, Zen-like combo of real estate salesman, city inspector, construction consultant, and New Age midwife. Not as witty, stylish or satirical as the Cary Grant 1940s movie, but if you like silly slapstick and want to enjoy such shenanigans with your little ones, this works. Like me, you may even find a few screwball situations causing you to laugh out loud.

Video Alternative: Mr. Blandings Builds His Dream House. Cary Grant and Myrna Loy were at the top of their game as the frustrated city couple who redo a house in the country. It’s classy comedy, but perhaps viewing it today, audiences will laugh the most when hearing of Mr. Blandings’ salary ($5,000 per year, or the $15,000 house).

Distributor: Sony Pictures

Josh Hutcherson, Bruce Greenwood, Bree Turner, Dash Mihok. Family comedy. Written by Clair-Dee Lim, Mike Webb, Michael Colleary. Directed by Todd Holland.

FILM SYNOPSIS: A movie star dog (the star of The Fast and the Furriest and Jurassic Bark) gets lost, then found and taken in by the son of a fire chief. The 12-year-old has issues mostly brought on by the sudden death of a beloved uncle and a distant father who masks his sadness with work. But soon the once pampered pouch proves himself a valuable asset to the fire station, helps reunite father and son, and then aids them in detecting the culprit of a recent batch of arson fires.

PREVIEW REVIEW: Despite the comedy antics aimed at the eight-year-old set, Firehouse Dog manages to bring a smile to the faces of accompanying adults. It’s cute, but no way could it be called smart. I’d prefer to show kids my video alternative: My Dog Skip.

Drawn from Willie Morris’s best-selling memoir, My Dog Skip is a coming-of-age tale that looks back on how a terrier pup helped a shy boy, bullied by schoolmates and strictly handled by an aloof father, come to grips with loneliness.

Set in WWII-era Mississippi, the film has a Norman Rockwell ambience; gentle enough for little ones, but also involving for older kids and their parents. Funny, yet, sensitive, My Dog Skip reminds us of what a great gift man’s best friend really is. Tenaciously loyal, unfailingly forgiving, and unquestionly loving, our four-legged companions teach their custodians how to relate to fellow beings while giving us memories that last a lifetime. A gentle, delightful film, it does require a guardian to be seated next to toddlers. For although it has the adventure of a BENJI, it also contains the poignancy of OLD YELLER. Production values are all top drawer. Young Frankie Muniz as the film’s junior protagonist is never cutesy or precocious, but rather down to earth. It is replete with lessons in friendship, loneliness, and death. And that dog - he could give Snoopy charm lessons! The best boy-and-his-dog movie since Lassie Come Home!

My Dog Skip is rated PG (Seven or eight expletives, but I caught no harsh or profane language; one scene features the parents smoking a cigar; the boy has to prove himself by staying all night in a graveyard, where he encounters moonshiners who threaten him; later, they hit the dog with a shovel (off camera); a deer is shot by hunters, but this scene is there to teach the boy a lesson; a father is a bit harsh, but we learn why, and it is obvious that he loves his son; after a long life, the dog gently passes away).

Distributor: 20th Century Fox

Kurt Russell, Zoe Bell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Rose McGowan, Josh Brolin. Action/adventure/exploitation. Writers/Directors Quentin Tarantino, Robert Rodriguez.FILM SYNOPSIS: Grindhouse – noun – A downtown movie theater - in disrepair since its glory days as a movie palace of the '30s and '40s - known for "grinding out" non-stop double-bill programs of B-movies. From groundbreaking directors Quentin Tarantino and Robert Rodriguez comes the ultimate grindhouse experience: a double-bill of thrillers that will recall both filmmakers’ favorite exploitation films. Grindhouse is presented as one full-length feature comprised of two individual films helmed separately by each director. Tarantino’s film, Death Proof, is a rip-roaring slasher flick where the killer pursues his victims with a car rather than a knife, while Rodriguez’s Planet Terror follows a group attempting to survive an outbreak of zombies. The production also contains previews of fake coming attractions, such as Werewolf Women of the S.S.

PREVIEW REVIEW:

Positives: It celebrates the heyday of the drive-in; it’s imaginative and often hysterical; it contains the car chase to beat all car chases, with some of the most daring stunt work imaginable; Kurt Russell is such a fine actor, giving a terrific performance in everything he does, including this turn as a mental case bent on killing fellow drivers; and the violence in the first feature is more like a Wyle E. Coyote cartoon.

Negatives: The violence in the second feature is disturbing as it highlights a graphic car crash where the victims’ bodies are torn apart; in keeping with the genre the two films are parroting, the sexuality is exploitive and frequent; the language could make your ears bleed.

Video Alternatives: Those looking for a great action picture need look no further than Bullitt. Steve McQueen is the essential cool cop chasing mob hit men. Great action, score and car chase. (Contains one obscenity, but I caught no misuse of God’s name. Also it has some violence, but nothing like today’s standards, or lack of.)

Prefer a chick-flick? Enchanted April. A delightful fable about four women in 1920s London escaping inattentive husbands and repressed lifestyles by renting a castle in Portofino. They soon discover the estate has a magical effect on all those who stay there. Witty dialogue, dreamy cinematography, and savory performances from Joan Plowright, Polly Walker and the rest of the cast.

Or how about the quintessential comic road picture? It’s A Mad, Mad, Mad, Mad World. A non-stop laugh-a-thon as a group of motorists learn of a fortune buried 200 miles away. Besides all the visual and verbal gags, and its constellation of comic greats, Mad World also contains some of the best car chases and stunts ever filmed.

Distributor: Dimension Films

Timothy Hutton, Joely Richardson, Rainn Wilson. Sci-fi adventure. Directed by Bob Shaye.

FILM SYNOPSIS: Two children discover a mysterious box that contains strange devices they think are toys. As the children play with these “toys,” they begin to display higher and higher intelligence levels. The little girl tells her mother that the beat-up stuffed rabbit, named Mimzy, “teaches me things.” Mimzy, it turns out, has a serious message for all of mankind. The stuffed animal has been sent from the future to help us now and to gain something that will help mankind in the future.

PREVIEW REVIEW: Some films use Eastern or New Age philosophies as mere fantasy, while others seem to incorporate those concepts as part of an agenda. It seems that is the case with The Last Mimzy, an E.T.-like adventure that bombards both the kids in the film as well as those watching it, with metaphysical beliefs, including reincarnation, palm reading, transcendental meditation, telekinesis and levitation. These didn’t seem mere props to further a kid’s fantasy, but rather a part of the writer’s own pursuit of spiritual truth. If that is not the case, the inclusion of those concepts is no less alarming.

Now here’s the territory that usually generates a smirk from those who consider the inclusion of such themes into children’s films as harmless. For me to say we need to be on guard concerning what Hollywood stuffs into the minds of little ones is often ridiculed by those who think they are more open-minded to such thematic tools. Well, I don’t suggest that your little ones will suddenly become pod people upon viewing a film about mind reading or levitation. I do pay attention, however, to biblical passages that suggest what we should put in our heads and what we shouldn’t.

Although the Bible doesn't deal with these topics specifically, because they are relatively new terms, the ideas are certainly mentioned and forbidden. As Moses was relating the law to Israel, he told them to stay away from those with "familiar spirits" Lev 19:31. It is also stated that "rebellion is as the sin of witchcraft" I Sam 15:23.

If biblical principles are a part of your children’s upbringing, then they will be able to reject false or misleading movie messages. But there also comes a time when we should refuse to support movies that dismiss biblical truths. “Test everything. Hold on to the good. Avoid every kind of evil” (1 Thessalonians 5:21-22). “Have no fellowship with the unfruitful works of darkness, but rather reprove them” (Ephesians 5:11).

Distributor: New Line Cinema

Richard Gere, Alfred Molina, Marcia Gay Harden, Hope Davis. Written by William Wheeler. Directed by Lasse Hallstrom.

FILM SYNOPSIS: The Hoax, directed by Lasse Hallström, is inspired by true events in the life of Clifford Irving, the writer who nearly pulled off one of the most audacious media scams in history when his “autobiography” of Howard Hughes was published. Richard Gere stars as Irving, who claimed the book was based on in-person interviews he conducted with the reclusive billionaire, which were in fact completely bogus.

PREVIEW REVIEW: I’m looking for the right adjective to describe this movie. There isn’t just one (or at least one this marginal wordsmith can muster), for it is both appealing and appalling. The artists and technicians have combined their veteran skills, presenting a stimulating, even captivating movie experience. Richard Gere is outstanding as Clifford Irving, as is Alfred Molina as Richard Suskind. And Bill Wheeler’s script is absorbing and enlightening, for he shows us that there are brilliant people among us who could achieve riches and glory by legitimate means, but who prefer to gain glory on their own fraudulent terms.

A good director is part magician, part deceiver. Lasse Hallstrom (The Cider House Rules, My Life As A Dog) personifies these qualities. By this film’s end, we are never quite sure where truth ended and allusion began. Therefore, whenever the astute moviegoer sees “based on actual events” or variations of that phrase at the opening of a movie, he would be well advised to take it with a grain of salt.

That said, The Hoax is an absorbing morality play, as it reveals the destruction of the soul by the building of a life on deception. The lies take control and with a vampiric resolve suck a soul dry. For every lie Irving manufactured, two more were needed to cover the first. In the beginning, we are as mesmerized by his craftiness as the publishers and cocktail party guests are deceived by his subterfuge. Irving is portrayed as a gifted storytelling on a par with Garrison Keillor. But suddenly the con-artist becomes caught in the down-pull of his duplicitous ways, much like a helpless animal in quicksand. We become alarmed to see a fellow human being consumed by paranoia to the point of madness. He is no longer an amusing wheeler-dealer. It is apparent that Irving has little regard for truth or for others. And we realize the past two hours have been spent glued to the misdeeds of a soulless man.Hoax is a solid movie, entertaining and persuasive, with cast and crew at the top of their form, but it is also a disturbing experience as we witness the fulfillment of the truism, “Be sure your sins will find you out.”

Distributor: Miramax

Hilary Swank, David Morrissey, Idris Elba, AnnaSophia Robb, Stephen Rea. Supernatural Thriller. Written by Carey W. Hayes & Chad Hayes. Directed by Stephen Hopkins.

FILM SYNOPSIS: Hilary Swank plays a former Christian missionary who lost her faith after her family was tragically murdered by the very people she had been sent to help. She has since become a world-renowned expert in disproving religious phenomena. But when she investigates a small Louisiana town suffering from what appears to be the biblical plagues, she realizes that science cannot explain what is happening and she must regain her faith to combat the dark forces threatening the community.

PREVIEW REVIEW: Though it features the same problems Pharaoh had to content with, the film lacks any substantial biblical teachings. It’s Bible precepts as seen through the eyes of a Hollywood screenwriter – always an iffy business. Biblical accuracy aside, the story is a sloppy swipe of The Exorcist, Rosemary’s Baby, and The Omen. The key word here being sloppy.

However you feel about the aforementioned films, you’ll give me they were handsomely constructed and that they raised the questions: Is there really a Satan? Is he capable of possessing a person? Is he able to bring the downfall of mankind? The Reaping doesn’t honestly look with any depth at such propositions. It’s too formulaic and cardboardish to be taken seriously, and therefore somewhat misleading concerning biblical teachings.

Looking for a joyless spook story complete with deceptive theology, gruesome deaths, and a moping lead who suffers from guilt and bouts of stupidity, this may be your cup of tea. If you’re looking for a smart spook flick, this ain’t it.

Most fans of the horror genre attend these thrillers in hope of finding one that actually scares them – usually to no avail. But different people are looking for different types of scares. Some like stories about devil possession (The Exorcist), others like good vs. evil tales (Bela Lugosi’s Dracula), while still others just like seeing people caught and tortured (The Hills Have Eyes, II). I’ll admit that I like to be somewhat unnerved occasionally, but I prefer films of substance – even in the horror arena. So, allow me to suggest a spooky video alternative: Signs.

Farmer Mel Gibson discovers crop circles on his land. Soon the world is crawling with hostile aliens. Like Hitchcock, director M. Night Shyamalan builds tension through restraint. It’s not what we see, but what we imagine that scares the Jujubes out of us.

Besides being an arm-grabbing suspenseful thriller, Signs is an equally touching family drama. We get to know this broken family as they cope with the traumatic loss of a wife and mother. There is an intimacy in both script and presentation that causes us to care for these people.

Added to the drama and suspense is the story’s subtext about a man losing, then regaining his faith. The film also has an intriguing take concerning coincidence in our daily lives. Do things happen by chance or do they serve to develop our nature? While it satisfies with just the right amount of goose bump-causing jolts, Shyamalan’s film also has purpose. It’s about finding our way – or finding our way back.

Qualifier for watching Signs: Upon reading Philippians 4:8, you may find my suggestion of a horror film alternative somewhat conflicting. But for me, Signs contained thoughtful lessons. As for the film’s alien beings, I saw them as metaphors representing the unknown and our struggles with life’s injustices. Some Christians may be suspect of the presentation of the plausibility of alien creatures, but just as Tolkien and C.S. Lewis used symbolism in their best books, Shyamalan uses supernatural elements to explore the human spirit.

I’m always impressed with Shyamalan’s work, because he infuses his films with subtext. He seamlessly layers his stories and gives depth to his characters. Few of his characters are there to just further the story. They each have an emotional truth. Signs is the most involving film I’ve seen in years from a technical, artistic and spiritual level. Although it is very scary, I found nothing vile or exploitive about this film. For me, it was two hours of passionate entertainment, which also asserted that we are more than mental and physical beings. I left the theater reminded “…in all things God works for the good of those who love him, who have been called according to his purpose” (Romans 8:28).

Distributor: Warner Bros.

Joseph Gordon-Levit, Jeff Daniels, Matthew Goode, Carla Gugino, Bruce McGill. Action/adventure. Written & Directed by Scott Frank.

FILM SYNOPSIS: The crime drama is centered around Chris (Joseph Gordon-Levitt), a once promising high school athlete who becomes mentally impaired after a tragic accident. As he tries to maintain a normal life, he takes a job as a janitor at a bank where he ultimately finds himself caught up in a planned heist.

PREVIEW REVIEW: Riveting. Though we start out with teens doing something stupid that we know is going to lead to a tragedy, you’re hooked right away. Sure enough, the lead shuts off the car lights so he and his girl and their friends can see the fireflies. It is a mistake he must live with the rest of his life. Admittedly, that’s not exactly a drawing card for a fun-filled night at the movies. Nor is what happens next. Betrayal.

The accident has left him with a mind that finds it difficult to reason. He must write things down on a pad in order to remind himself how to reason situations. But he has dreams and a job. He’s a custodian in a bank. He’s trustworthy. All this is known to a con artist.

As awful as the wreck and its aftermath has been, it’s nothing compared to the thought that someone would take advantage of an innocent. The crook befriends Chris and tempts him much like Satan did Adam and Eve.

Besides a terrific performance from Joseph Gordon-Levitt (3rd Rock From the Sun, Brick, Treasure Planet), a young actor who chooses interesting roles and then inhabits them, plus a trenchant script, the film has two important messages/reminders. One, there are people disguised as friends who will use you and even leave you with an empty sack. And second, though God and loved ones will forgive you, life never will. You will pay for your mistakes. And you’ll find as you develop your character that your infractions will remain a part of you, even if you can forgive yourself.

It’s a well-written, powerful parable. Alas, it is one filled with profane and obscene language, not to mention graphic sexual situations. Though there is a moral character, a blind man who sees far more than most people, there is no awareness or seeking of God’s input. If you do not wish to subject yourselves to the R-rated content, allow me to suggest the following video alternatives:

The Apostle. This perceptive drama, written, directed and starring Robert Duvall, never condescends, nor is it antagonistic toward people of faith while telling its story of a good but imperfect man’s redemption. PG-13. I found nothing offensive for exploitive purposes. The implied adultery, its one violent scene, the reverend's faulty nature, and a couple of mild expletives serve to further the story rather than shock us or malign the ministry.

The Gospel. A semi-autobiographical film about the transformative power of faith and forgiveness, The Gospel is a contemporary drama packed with the soaring, soulful sounds of gospel music. Set in the impassioned world of the African-American church, The Gospel tells the story of David Taylor (Boris Kodjoe), a dynamic young R&B star torn between his successful new life and the one he used to know.

Joni. Not a great movie, but an engaging true story of Joni Eareckson Tada, who overcame depression and aloneness, after an accident left her a quadriplegic.

Places in the Heart. A literate script presents a determined widow (Sally Field) bent on saving her farm during the '30s Depression. Contains perhaps the greatest ending to a film this buff has ever seen. A repentant adulterer is finally forgiven, when his wife, moved by the pastor's sermon, takes her husband's hand during the service, signifying the restoring of a relationship through Christ's love. Just as we put our hankies away after that moving moment, another symbolic healing occurs. I won't give that one away. Trust me, it's powerful! Rated PG (some mild language, implied adulterous affair – but it furthers the story and it is not explicit).

Saint Maybe. Blythe Danner, Edward Herrmann, Melina Kanakaredes, Thomas McCarthy, Jeffrey Nordling, Mary-Louise Parker. Not yet on DVD, but it can be found on video from Hallmark. Worth it. When a ne’er-do-well finds himself the cause of his brother’s death, he seeks a reason for his life. He stumbles upon a church gathering and quickly turns his life around, living for others. This affecting Hallmark Hall of Fame presentation of a family dealing with the loss of a loved one is a wonderful film suitable for the Christmas holidays. There are so many powerful messages and life lessons, none of which overpowers the entertaining drama. What a delight to find a film where scripture is quoted, the Christian lifestyle is not mocked, prayers are spoken and the gospel message is put into practice.

Distributor: Miramax

Disney/Pixar animation with the voices of Angela Bassett, Jordan Fry, Tom Kenny, Harlan Williams, Adam West, Daniel Hansen, Tom Selleck. Family/Sci-fi adventure/fantasy. Directed by Stephan J. Anderson.

FILM SYNOPSIS: Lewis is an orphan, a creative 12-year-old inventor who dreams of finding a family. His journey takes an unexpected turn when a mysterious stranger named Wilbur Robinson whisks him away to a world where anything is possible…THE FUTURE. There, he meets an incredible assortment of characters and a family beyond his wildest imagination, the Robinsons, who help lead him on an amazing and hilarious adventure with heartfelt results. But while Lewis is experiencing the joy of family, he is also being perused by the dastardly Bowler Hat Guy, a villain bent on possessing one of Lewis’s latest inventions – the Memory Scanner.

PREVIEW REVIEW: There are few sounds greater than children laughing. And for a film critic who has suffered through many a mediocre kid’s movie, what a pleasure to feel the same joy the intended audience received from watching a film. Full of energy and humor, with an exceptional voice cast and a clever script that is part adventure, part parable, Meet the Robinsons delivers one of the best family films you’ll see this year.

Meet the Robinsons is being shown in 3-D in some theaters. Now, I want you to do yourself – and especially your kids – a favor. Go out of your way to see this one in 3-D. Trust me on this. You’ll be sending me notes of gratitude. It may be the best 3-D animation this reviewer has ever seen. The detail is eye-filling.

I felt good when I left the theater. I had just seen a family film that had more on its mind than just being rated G. I sensed the filmmakers were having a blast making this film and that they wanted to go the extra mile. They succeeded. Quite simply put, Meet the Robinsons is a winner for the entire family.

The best animated film since The Incredibles!

Distributor: Buena Vista

Scott Mechlowicz, Nick Nolte, Amy Smart. Written by Kevin Bernhardt. Directed by Victor Salva. In limited release.

A cocky college gymnast encounters a mysterious gas station attendant who is as much a Jedi-like guru as gas pump jockey. Wanting to make the Olympics, the student is drawn back to the gas station sage, hoping the wise old philosopher will teach him a mind set he’s not getting at the gym. And that’s just what the old man does. Nick Nolte’s ethereal guide tutors the young man, bestowing countless tidbits of wisdom.

Mixing instructions from Jesus, Confucius and the Karate Kid, this guy dispenses more fortune cookie proverbs than Mr. Miyagi. Most laughable is the casting of Mr. Nolte. Oh, he’s a superb actor, but he’s playing a temperate man, constantly advising the youth to refrain from sex, drugs and rock n’ roll. His lifelong habitual use of booze, cigarettes and other stimulants has taken its toll on the actor’s face. And with Nolte’s gravel lined vocal cords sounding as if he’d just given up scotch for bourbon, he simply does not reflect the temperance of the character he plays in this film.

Also troubling is the unlikable lead character. The young gymnast is self-centered and uncaring at the beginning. And even after his life lessons are learned, he’s still sullen and self involved.

While I commend the filmmakers for stressing the importance of spiritual matters in an era of movies that focus more on man’s baser instincts, the insights incorporated are far more New Age than biblically sound. There are some solid dramatic moments, but mostly the film drones on, aided by several lifeless clichéd montages. It’s a movie that wanted to be profound. But the lapse of credibility detracts from the life lessons. For example, when our young hero first meets the Nick Nolte character, the old man suddenly, mystically appears on the roof as if he’d jumped up there from a dead standstill. How this was achieved is never explained. There a whole lot about this character that is never explained, making him seem like a representative of the metaphysical world. It’s filled with the type of self exploration gibberish that satisfies the followers of Tony Robbins more so than those seeking biblical truths.

If I may, allow me to suggest a video alternative: The Apostle. This perceptive drama, written, directed and starring Robert Duvall, never condescends, nor is it antagonistic toward people of faith while telling its story of a good but imperfect man’s redemption. (The Apostle is rated PG-13: I found nothing offensive for exploitive purposes. The implied adultery, its one violent scene, the reverend's faulty nature, and a couple of mild expletives serve to further the story rather than shock us or malign the ministry.)

Distributor: Lionsgate

Terrence Howard, Bernie Mac, Kevin Phillips. Sports drama. Written by Michael Gozzard, K. Michael Smith, Millis Goodloe. Directed by Sunu Gonera.

FILM SYNOPSIS: Based on true events, the film tells of an African American swim coach who recruits troubled teens onto a Philadelphia swim team. Terrence Howard stars as Jim Ellis, a concerned man who affected lives with his determination and caring spirit.

PREVIEW REVIEW: Like every other entry into the sports genre, Pride has an outline that adheres to an uncompromising steadfastness. Here’s that format:
Attitude is leading a young group astray
A tough-but-good-hearted instructor is introduced to the group
They form a team, but get beaten due to their attitude
The tough-but-good-hearted instructor gives them THE SPEECH
They begin to take their sport and each other seriously
Hope is on the horizon
Then obstacles test them
Then they win by one last ditch effort – shown in slo-mo.

These films are as alike as nickel heads, but if done right, they involve and entertain – and even teach. Pride gets it right. Nothing new, absolutely nothing, yet it has an energy, characters you care about and the tough-but-good-hearted instructor is played by Terrence Howard, an actor of great magnetism. Like Denzel Washington, Morgan Freeman and Sidney Poitier, Terrence Howard (Hustle and Flow, Crash) is a class act, a good actor who takes his profession seriously. And he is terrific, here.

The film has several good themes, including facing life, not quitting, showing resilience and the need for education. It also addresses a painful reality: the bigotry shown to African Americans even as late as the mid-1960s. Ellis’ own coach, a white man, is portrayed as a good guy who obviously judges others without bigotry. Just about all the other whites featured, however, are downright villainous in their speech and behavior. Seeing the film with a mixed audience, I sensed resentment from the black members, who, as the underdogs finally became victorious, clapped with a fierceness that suggested suppressed rancor. I wondered if that resentment would ever be completely vanquished. It’s a scar that may eventually heal, but I fear will never completely disappear. Mankind has many scars to remind today’s generation of the wrongness done out of a prejudiced judgment. Will they learn from the mistakes and misjudgments of their ancestors?

Distributor: Lionsgate

Adam Sandler, Don Cheadle, Jada Pinkett Smith, Liv Tyler. Drama. Written & directed by Mike Binder (The Upside of Anger).

FILM SYNOPSIS: Former college roommates Charlie Fineman (Adam Sandler) and Alan Johnson (Don Cheadle) meet up again by chance on a Manhattan street corner. Five years after losing his family on 9/11, Charlie – once a successful dentist – has retreated from his life, and Alan is stunned to see the changes in his formerly gregarious friend. At the same time, Alan – who should be enjoying his beautiful wife, children and career – is overwhelmed by his responsibilities. Their rekindled relationship becomes a lifeline for the two men, who are both in need of a trusted friend at this pivotal moment in their lives.

PREVIEW REVIEW: By now most of my readers are well aware that I object to profane and obscene language, both from a biblical standpoint and from an artistic one. And Reign Over Me is filled to the brim with such verbiage. What’s more, there is a great deal of sexual innuendo and dialogue. These reasons will probably keep most Christians from attending. And I wouldn’t suggest otherwise. But as a film reporter, I must also tell you that it is, truly, one of the best films of 2007. Though I cringed at some of the R-rated content, I was moved to tears as I witnessed a man who understood the meaning of friendship. Sandler’s Charlie Fineman is a challenge due to his erratic behavior, yet Cheadle’s Alan Johnson never gives up on him. And in his way, Charlie also comes through for his one and only friend.

The film taught me a great deal about compassion and patience when it comes to relationships. Extremely well acted, with good pacing, writer/director Mike Binder brings a sorely needed grownup subject to the screen. Reign Over Me is sensitive, with a deeply moving parable about friendship. I probably won’t view it again, due to some profane use of God’s name, but I pray that I will take to heart the lessons it teaches concerning compassion for my fellow man.

Video Alternative: Of Mice and Men. The 1992 version with Gary Sinise and John Malkovich is terrific, but it also contains some objectionable language. The 1939 version with Lon Chaney, Jr. and Burgess Meredith is exceptional and lacks any profanity. This fine adaptation of the John Steinbeck novel is a morality tale about friendship. Though it is an old film, everything about it is top drawer, including a memorable score by Aaron Copeland.

Distributor: Sony Pictures

Animated action/adventure. Voices: Patrick Stewart, Sarah Michelle Geller, Mako, Chris Evans, James Arnold Taylor, Mikey Kelly. Written & directed by Kevin Monroe.

FILM SYNOPSIS: It’s been a while since the Ninja Turtles have faced a destructive adversary. Their sensei Master Splinter worries that they are growing apart. But not to worry. For an unknown reason, an industrialist has amassed an army of ancient monsters to do his bidding.

PREVIEW REVIEW: They are four turtle brothers who were somehow mutinized at birth, along with a rat who must have somehow spent a great deal of time watching reruns of Kung Fu. The boys, named after legendary painters/sculptures/scientists, are now martial arts experts who wear masks. (Why masks? I have no clue.). Like the Batman or any of the Justice League, they defend their city from master criminals while submitting to the tutelage of Master Splinter, the giant rat/shaman. Kids just eat this up, the crazier, the better.

Here, they reunite to once again take on giant stone ancient warriors and a slew of huge semi-scary monsters. A few life lessons about brotherhood are intermingled along with lots of skirmishes.

Is it too violent for kids? Well, it’s cartoonish, but there is one battle after another. You’ll have to decide for yourselves if you think this amount of battling is bad for your children. If your kid keeps trying to saw his little brother in half, then maybe you should prevent him from too much screen aggressiveness. For others, the action stirs the imagination and is even somewhat of a release.

The technical qualities are good, as is the computer-generated cartooning. And the brothers become closer by film’s end.

Full of Eastern philosophy? I don’t think so. Master Splinter is a gentle being who instructs his students to work together in order to best an opponent and to find the best in themselves. He is someone they respect and turn to for guidance. But the film isn’t a serious proponent of Eastern religions. That said, they do call him Master. You might need to explain that. And you never know when something even as simple as a cartoon about turtles who respect a wise philosopher is going to raise questions concerning religion. This might be a good opportunity to discuss Jesus and biblical teachings.

Distributor: Warner Bros.